Das Neugeborne Kindelein – Christmas Cantatas by Buxtehude, Telemann, J.s. Bach La Petite Bande Sigiswald

‘The Time of Day’ provided Haydn with an inspiration to compose and his Symphony numbers 6, 7 & 8 collectively became known as The Day Trilogy. Celebrating their 30th anniversary, Sigiswald Kuijken and La Petite Bande are highly respected exponents of this repertoire and this recording is no exception to their consistently high standards. Carrying on with their ‘one instrument to a part’ policy, the recording is presented in a wonderfully light and airy way, allowing the music to shine through.

Started in 2001 Sigiswald Kuijken cycle on Accent has made a very promising start. As one might expect these performances have a subtle sense of rhythmic hierarchy, with animated dance metres and well shaped continuo lines. The performances are highly convincing: the vocal soloists bring great energy to their lines, adding effective ornamentation in the choruses and projecting a distinctive character for each aria. These performances illuminate Bach’s cantatas with persuasive musicianship and also a critical appraisal of current performing styles. As a result, they are some of the finest examples of what historically informed performers can achieve.

The celebration of the Nativity has always been a source of inspiration for composers. The different elements of the evangelical narrative evoke numerous images: tender feelings before the Baby Jesus; the gentleness of his mother, the Virgin Mary; the procession of the three Wise Men; the angelic choirs in Heaven; and these shepherds gathered in the manger. All that appears in the musical repertoire linked to this holiday, as well as the presence of colourful instrumentations and themes connected to folk traditions. This set, released by Ricercar, brings together all these elements, drawn from the repertoires of the Renaissance and Baroque eras.

The death of Georg Philipp Telemann in 1767 paved the way for his godson, Carl Philipp Emanuel Bach to take up the position of Director of Music in Hamburg. Prior to that C P E Bach had been working for Frederick the Second of Prussia in Berlin but longed for a greater musical freedom and stylistic flexibility that working in Hamburg would offer him. This included the composition of three oratorios, including the one presented here. C P E Bach worked on The Resurrection and Ascension of Jesus in collaboration with the librettist Karl Wilhelm Ramler from 1781, and in 1787 it was published by Breitkopf. A letter from the composer to his publisher subsequently revealed he considered it to be one of his greatest masterpieces—a reflection agreed upon by audiences at the time, and succeeding generations of composers, including Haydn and Beethoven who both drew inspiration from it.

Founded in 1972 at the suggestion of Deutsche Harmonia Mundi and led since its inception by Dutch violinist turned conductor Sigiswald Kuijken, La Petite Bande is surely among the finest of early music orchestras with a discography ranging from Lully through Mozart. Among the group's most successful projects, however, have been recordings of Bach's sacred works, particularly the 1985 Mass in B minor and this 1987 St. John Passion. Both are superbly performed with excellent solo and choral singing and outstanding orchestral playing, but both are distinctly dissimilar in tone and effect. The conductor makes the difference.

Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788), also formerly spelled Karl Philipp Emmanuel Bach, was a German Classical period musician and composer, the fifth child and second (surviving) son of Johann Sebastian Bach and Maria Barbara Bach. His second name was given in honor of his godfather Georg Philipp Telemann, a friend of Johann Sebastian Bach. C. P. E. Bach was an influential composer working at a time of transition between his father's baroque style and the classical and romantic styles that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Bach's dynamism stands in deliberate contrast to the more mannered galant style also then in vogue.

The Surprise Symphony was, before the Mozart craze of the early 1990s, the most famous piece of classical music after Beethoven's Fifth, and if it gets into some feature film it could well regain it's former position. It says something for Haydn's ability to write consistently interesting and witty music that the most popular, "named" part in a symphony (this one included) is likely to be the slow movement. In other words, Haydn is often at his most entertaining just when other composers are putting you to sleep. Symphony No. 93 also has a surprise in its slow movement–a highly scatological comment from the bassoon at the very end, followed by what can only be described as orchestral laughter.

These two symphonies were composed for Haydn's second visit to London, during the winter months of 1794-95. He knew the musicians for whom he was writing, and they were a virtuoso ensemble. Therefore these are among the largest scaled, most technically demanding among all his symphonies.